Jonathan Galassi Quotes
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I love poetry; it's my primary literary interest, and I suppose the kind of reading you do when you are reading poems - close reading - can carry over into how you read other things.
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The price of an e-book is a lot less than the price that we're charging for a hardcover book. It's about the same as we charge for a paperback. And that means a different revenue stream.
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I think that the continuity of what I do as an editor with what I did when I started out 40 years ago is very direct. The delivery system is changing and will continue to, but the actual interaction between publisher and author is exactly the same.
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I'll tell you - there's no author that wants to give his mother an e-book of his new book. I think he wants to present her with - or she - wants to present her with something beautiful that he or she created.
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That's one thing about fiction: you can make the world be the way you think it should be.
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A translation needs to read convincingly. There's no limit to what can go into it in terms of background research, feeling, or your own interests in form and history. But what should come out is something that reads as convincing English-language text.
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I wanted to be involved with literature. I certainly wasn't going to be able to write for a living, and I didn't have enough confidence in my talent to think that I should be just doing that. Publishing seemed like fun to me - to be involved with writers. And it did turn out to be.
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Writing is inherently scary.
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Claiming your life for yourself feels like a huge deal until you do it.
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I can write anywhere that's quiet. I have a study in my apartment, but I often work in the kitchen of a house that we rent in the country.
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I think that a really good agent should be able to get the right publisher, which the agent has already figured out, get as much money as she can from that publisher, and make a deal, rather than have the amount of money determine the sale. That's what the best agents do.
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An e-book distributor is not a publisher, but rather a purveyor of work that has already been created.
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My poems are always about my life in one way or another.
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As the publisher of FSG and the custodian of its legacy, I have an interested insider's view.
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I think publishers need to be the ones that publish the books and control that process: finding writers, helping them with their work, finding readers. I think writers need that.
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I deal with the authors I work with, agents, and other departments of the company, talking about both the books that I'm working on and everyone else's. Then there's dealing with foreign publishers: foreigners visit all the time. People want to bounce things off the publisher, and a lot of it is encouragement.
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Editing is more by-the-hip. You look at a text and ask yourself how it can be improved.
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The only thing you can really say in a poem is what you really, really deeply believe.
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Eugenio Montale - born in Genoa in 1896, died in Milan, 1981 - is one of the twentieth-century Europeans who has spoken most meaningfully to American and British poets.
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I think poetry should be read very much like prose, except that the line breaks should be acknowledged somehow.
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I think poetry was always where I went to deal with my deepest feelings.
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After college, I went to England and studied for a couple years.
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When you're in the throes of writing, I find, the lessons you've casually imparted to others are not in the forefront of your mind. Which may be good or bad. Probably both.
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I was nearly 40 when I published my first book. I was a slow starter - or rather, I was slow to gather my work together, though I had published translations, mainly of the Italian poet Montale, by then.